"The Robber Bride" - читать интересную книгу автора (Atwood Margaret)

XLVIII

Mitch comes back. He comes back from the hunt. He comes back in the middle of February, having phoned first; having booked himself a time slot, like any client or petitioner. He turns up on Roz’s doorstep in his sheepskin coat, looking like an empty sack. In his hand he holds a plaintive bouquet of flowers.

For that, Roz would like to kick him—does he think she’s such a cheap date?—but she’s shocked by his appearance. He’s rumpled like a park-bench drunk, his skin is grey from travel, dark hollows ring his eyes. He’s lost weight, his flesh is loose, his face is starting to cave in, like some old guy without his false teeth, like the kids’ Hallowe’en pumpkins a few days after the holiday is over and the candles inside have burned out. That softening, that subsiding inwards towards a damp central emptiness.

Roz feels she should stand in the doorway, a barrier between the cold outside air he brings with him and her own warm house, blocking him, keeping him out. The children need to be protected from this leftover, this sagging echo, this shadowy copy of their real father, with his sinkhole eyes and his smile like crumpled paper. But she owes him a hearing, at least: Wordlessly she takes the flowers—roses, red, a mockery, because she does not delude herself, passion is not what he feels. Not, at least, for her. She lets him in.

“I want to come back,” he tells her, gazing around the high, wide living room, the spacious domain that Roz has made, that was once his to share. Not Will you let me come back? Not I want you back. Nothing to do with Roz, no mention of her at all. It’s the room he’s claiming, the territory. He is deeply mistaken. He thinks he has rights.

“You didn’t find her, did you?” says Roz. She hands him the drink she’s poured for him, as in days of yore: a singlemalt scotch, no ice. That’s what he used to like, long long ago; that’s what she’s been drinking these days, and more of it than she should. The gesture of handing the glass to him softens her, because it’s their old habit. Nostalgia for him seizes her by the throat. She fights against choking. He has a new tie on, an unfamiliar one, with grisly pastel tulips. The fingerprints of Zenia are all over it, like unseen scorch marks.

“No,” says Mitch. He won’t look at her.

“And if you had,” says Roz, hardening herself again, lighting her own cigarette—she won’t ask him to do it, they are way beyond such whimsical courtship gestures, not that he’s leaping forward with arm outstretched—“what would you have done? Beat the shit out of her, or sicked the lawyers onto her, or given her a big sloppy kiss?”

Mitch looks in her direction. He can’t meet her eyes. It’s as if she’s semi-invisible, a kind of hovering blur. “I don’t know,” he says.

“Well, at least that’s honest,” says Roz. “I’m glad you aren’t lying to me.” She’s trying to keep her voice soft, to avoid the bitter cutting edge. He isn’t lying to her, he isn’t doing anything to her. There is no her, as far as he’s concerned; she might as well not be here. Whatever he’s doing is to himself She has never felt so non-existent in her life. “So, what do you want?” She may as well ask, she may as well find out what’s being demanded of her.

But he shakes his head: he doesn’t know that, either. He isn’t even drinking from the glass she’s poured. It’s as if he can’t take anything from her. Which means there’s nothing she can give him. “Maybe when you figure it out,” she says, “you could let me in on it:”

Now he does finally look at her. God knows who he sees. Some avenging angel, some giantess with a bared arm and a sword—it can’t be Roz, tender and feathery Roz, not the way he’s staring at her. His eyes are frightening because they’re frightened. He’s scared shitless, of her or of someone or something, and she can’t bear the sight. Whatever else has been going on, all those years he played In and Out the Bimbos and she raged at him and wept, she’s always depended on him not to lose his nerve. But now there’s a crack in him, like a crack in glass; a little beat and he’ll shatter. But why should it be Roz’s job to sweep up?

“Just let me stay here,” he says. “Let me stay in the house. I could sleep downstairs, in the family room. I won’t bother you:’

He’s begging, but Roz hears this only in retrospect. At the moment she finds the idea intolerable: Mitch on the floor, in a sleeping bag, like the twins’ friends at group sleepovers, demoted to transience, demoted to adolescence. Locked out of her bedroom, or worse, not wishing to go into it. That’s it—he’s rejecting her, he’s rejecting her big, eager, clumsy, ardent, and solid body; it’s no longer good enough for him, not even as a feather bed, not even as a fallback. He must find her repellent.

But she does have some pride left, though God knows how she’s managed to hang onto it, and if she’s going to let him come back it has to be on full terms. “You can’t treat me like a rest stop,” she says. “Not any more.”

Because that’s exactly what he’d do, he’d move in, she’d dish out the nourishing lunches, feed him, build him up again, and he’d get his strength back and be off, off in his longboat, off in his galleon, scouring the seven seas for the Holy Grail, for Helen of Troy, for Zenia, peering through the spyglass, on the watch for her pirate flag. Roz can see it in his eyes, which are focused on the horizon, not on her. Even if he came back, into her bedroom, in between her raspberrycoloured sheets, into her body, it wouldn’t be her underneath him, on top of him, around him, not ever again. Zenia has stolen something from him, the one thing he always kept safe before, from all women, even from Roz. Call it his soul. She slipped it out of his breast pocket when he wasn’t looking, easy as rolling a drunk, and looked at it, and bit it to see if it was genuine, and sneered at it for being so small after all, and then tossed it away, because she’s the kind of woman who wants what she doesn’t have and gets what she wants and then despises what she gets.

What is her secret? How does she do it? Where does it come from, her undeniable power over men? How does she latch hold of them, break their stride, trip them up, and then so easily turn them inside out? It must be something very simple and obvious. She tells them they’re unique, then reveals to them that they’re not. She opens her cloak with the secret pockets and shows them how the magic trick is worked, and that it is after all nothing more than a trick. Only by that time they refuse to see; they think the Water of Youth is real, even though she empties the bottle and fills it again from the tap, right before their very eyes. They want to believe.

“It won’t work,” Roz tells Mitch. She isn’t being vindictive. It’s the simple truth.

He must know it, because he doesn’t plead. He subsides into his crumpled clothing; his neck gets shorter, as though there’s a steady but inexorable weight pushing slowly down on the top of his head. “I guess not,” he says.

“Didn’t you keep the apartment?” says Roz. “Isn’t that where you’re living?”

“I couldn’t stay there,” says Mitch. His voice is reproachful. as if it’s crass of her, cruel of her even to suggest such a thing. Doesn’t she realize how much it would hurt him to be in a place he once shared with the fled beloved, a place where he would be reminded of the dear departed at every turn, a place where he was so happy?

Roz knows. She herself lives in such a place. But he obviously hasn’t thought of that. Those in pain have no time for the pain they cause.

Roz sees him out, into the front hall, into the overcoat, which almost does her in because it’s her overcoat too, she helped him buy it, she shared the life he led in it, that goodtaste leather, that sheepskin, one-time container of such a rascally wolf. No longer, no more; he’s toothless now. Poor lamb, thinks Roz, and clenches her fists tight because she won’t let herself be fooled like that again.

He takes himself off, off into the freezing February dusk, off into the unknown. Roz watches him walk towards his parked car, lurching a little although he didn’t touch his drink. The sidewalks are icy. Or maybe he’s on something, some kind of pill, a tranquillizer. Most likely he shouldn’t be driving, though it’s no longer any of her business to stop him. She tells herself it’s not necessary to have qualms about him. He can stay at a hotel. It’s not as if he doesn’t have any money.

She leaves his red roses on the sideboard, still wrapped in their floral paper. Let them wilt. Dolores can find them tomorrow, and reproach Roz in her heart for carelessness, rich people don’t know what things cost, and throw them out. She pours herself another scotch and lights another cigarette, then gets down her old photo albums, those pictures she took so endlessly at backyard birthday parties, at graduations, on vacations, winters in the snow, summers on the boat, to prove to herself they were all indeed a family, and sits in the kitchen going through them. Pictures of Mitch, in non-living colour: Mitch and Roz at their wedding, Mitch and Roz and Larry, Mitch and Roz and Larry and the twins. She searches his face for some clue, some foreshadowing of the catastrophe that has befallen them. She finds none.

Some women in her place take their nail scissors and snip out the heads of the men in question, leaving only their bodies.

Some snip out the bodies too. But Roz will not do this, because of the children. She doesn’t want them to come across a picture of their headless father, she doesn’t want to alarm them, any more than she already has. And it wouldn’t work anyway, because Mitch would still be there in the pictures, an outline, a blank shape, taking up the same amount of room, just as he does beside her in her bed. She never sleeps in the middle of that bed, she still sleeps off to one side. She can’t bring herself to occupy the whole space.

On the refrigerator, attached to it by magnets in the form of smiling pigs and cats, are the Valentines the twins made for her at school. The twins are clinging these days, they want her around. They don’t like her going out at night. They didn’t wait for Valentine’s Day, they brought their Valentines home and gave them to her right away, as if there was some urgency. These are the only Valentines she will get. Probably they are the only ones she will get ever again. They should be enough for her. What does she want with glowing hearts, with incandescent lips and rapid breathing, at her age?

Snap out of it, Roz, she tells herself, You are not old. Your life is not over.

It only feels like that.

Mitch is in the city. He’s around. He comes to see the children and Roz arranges to be out, her skin prickling the whole time with awareness of him. When, she walks into the house after he’s gone she can smell him—his aftershave, the English heather stuff, could it be he’s sprinkled some of it around just to get to her? She glimpses him in restaurants, or at the yacht club. She stops going to those places. She picks up the phone and he’s on the other line with one of the kids. The whole world is boobytrapped. She is the booby.

Their lawyers talk. A separation agreement is suggested, though Mitch stalls; he doesn’t want Roz—or else he would be here, wouldn’t he, on the doorstep again, wouldn’t he at least be asking?—but he doesn’t want to be separated from her either. Or maybe he’s just bargaining, maybe he’s just trying to get the price up. Roz grits her teeth and holds the line. This is going to cost her but it will be worth it to cut the string, the tie; the chain, whatever this heavy thing is that’s holding her down. You need to know when to fold. At any rate she’s functioning. More or less. Though she’s done better.

She goes off to see a shrink, to see if she can improve herself,’ make herself over into a new woman, one who no longer gives a shit. She would like that. The shrink is a nice person; Roz likes her. Together the two of them labour over Roz’s life as if it’s a jigsaw puzzle, a mystery story with a solution at the end. They arrange and rearrange the pieces, trying to get them to come out better. They are hopeful: if Roz can figure out what story she’s in, then they will be able to spot the erroneous turns she took, they can retrace her steps, they can change the ending. They work out a tentative plot. Maybe Roz married Mitch because, although she thought at the time that Mitch was very different from her father, she sensed he was the same underneath. He would cheat on her the way her father had cheated on her mother, and she would keep forgiving him and taking him back just the way her mother had. She would rescue him, over and over. She would play the saint and he the sinner. Except that her parents ended up together and Roz and Mitch did not, so what went wrong? Zenia went wrong. Zenia switched the plot on Roz, from rescue to running away, and then when Mitch wanted to be rescued again Roz was no longer up to it. Whose fault was that? Who was to blame? Ah. Didn’t Roz think that too much was spent apportioning blame? Did she blame, perhaps, herself? In a word, yes. Maybe she still can’t quite leave God out of it, and the notion that she’s being punished.

Maybe it was nobody’s fault, the shrink suggests. Maybe these things just happen, like plane crashes.

If Roz wants Mitch back that badly—and it appears that she does, now that she has a greater insight into the dynamics of their relationship—maybe she should ask him to come for counselling. Maybe she should forgive him, at least to that extent.

All this is very reasonable. Roz thinks of making the phone call. She is almost nerved up to it, she is almost there. Then, in drizzly March, Zenia dies. Is killed in Lebanon, blown up by a bomb; comes back in a tin can, and is buried. Roz does not cry. Instead she rejoices fiercely—if there was a bonfire she’d dance around it, shaking a tambourine if one was provided. But after that she’s afraid, because Zenia is nothing if not vengeful. Being dead won’t alter that. She’ll think of something.

Mitch isn’t at the funeral. Roz cranes her neck, scanning for him, but there’s only a bunch of men she doesn’t know. And Tony and Charis, of course.

She wonders whether Mitch has heard, and if he has, how he’s taking it. She ought to feel that Zenia has been cleared out of the way, like a moth-eaten fur coat, a tree branch fallen across the path, but she doesn’t. Zenia dead is more of a barrier than Zenia alive; though, as she tells the shrink, she can’t explain why. Could it be remorse, because Zenia the hated rival is dead and Roz wanted her to be, and Roz is not? Possibly. You aren’t responsible for everything, says the shrink.

Surely Mitch will now change, appear, react. Wake up, as if from hypnotism. But he doesn’t phone. He makes no sign, and now it’s April, the first week, the second week, the third. When Roz calls his lawyer, finally, to find out where he is, the lawyer can’t say. Something was mentioned about a trip, he seems to recall. Where? The lawyer doesn’t know.

Where Mitch is, is in Lake Ontario. He’s been there a while. The police pick up his boat, the Rosalind II, drifting with sails furled, and eventually Mitch himself washes into shore off the Scarborough Bluffs. He has his lifejacket on, but at this time of year the hypothermia would have taken him very quickly. He must have slipped, they tell her. Slipped off and fallen in, and been unable to climb back on. There was a wind, the day he left harbour. An accident. If it had been suicide he wouldn’t have been wearing his lifejacket. Would he?

He would, he would, thinks Roz. He did that part of it for the kids. He didn’t want to leave a bad package for them. He did love them enough for that. But he knew all about the temperature of the water, he’d lectured her about it often. enough. Your body heat dissipates, quick as a wink. You numb, and then you die. And so he did. That it was deliberate Roz has no doubt, but she doesn’t say. It was an accident, she tells the children. Accidents happen.

She has to tidy up after him, of course. Pick up the odds and ends. Clean up the mess. She is, after all, still his wife.

The worst thing is the apartment, the apartment he shared with Zenia. He didn’t go, back to it after she left, after he chased off to Europe to find her. Some of his clothes are still in the closet—his impressive suits, his beautiful shirts, his ties. Roz = folds and packs, as so often before. His shoes, emptier than empty. Wherever else he is, he isn’t here.

Zenia is a stronger presence. Most of her things are gone, but a Chinese dressing gown, rose-coloured silk with dragons embroidered on it, is hanging over a chair in the bedroom. Opium, Roz thinks, smelling it. It’s the smell that bothers Roz the most. The tumbled sheets are still on the unmade bed, there are dirty towels in the bathroom. The scene of the crime. She should never have come here, this is torture. She should have sent Dolores.

Roz gives up going to the shrink. It’s the optimism that’s getting to her, the belief that things can be fixed, which right now feels like just one more burden: All this and she’s supposed to be hopeful, too? Thanks but no thanks. So, God, she says to herself. That was some number. Fooled me! Proud of yourself. What else have you got up your sleeve? Maybe a nice war, some genocide—hey, a plague or two? She knows she shouldn’t talk this way, even to herself, it’s tempting fate, but it gets her through the day.

Getting through the day is the main thing. She puts two pending real estate deals on hold; she’s in no shape to make major decisions. The magazine can run itself until she can get around to selling it, which shouldn’t be too hard, because ever since the changes Zenia brought in it’s showing a profit. If she can’t sell it she’ll fold it up. She doesn’t have the heart to go on with a publication that has made such extravagant claims, claims she has so calamitously failed to embody in herself. Superwoman she’s not, and failed is the key word. She’s been a success at many things, but not at the one thing. Not at standing by her man. Because if Mitch drowned himself—if there wasn’t enough left for him to live for—whose fault was it? Zenia’s, yes, but also her own. She should have remembered about his own father, who took the same dark road. She should have let him back in.

Getting through the day is one thing, getting through the night is another. She can’t brush her teeth in her splendid doublesinked bathroom without sensing Mitch beside her, she can’t take a shower without looking to see if his damp footprints are on the floor. She can’t sleep in the middle of her raspberrycoloured bed, because, more than ever, more than when he was alive but elsewhere, he is almost there. But he’s not there. He’s missing. He’s a missing person. He’s gone off someplace where she can’t get at him.

She can’t sleep in her raspberry-coloured bed at all. She lies down, gets up, puts on her bathrobe, wanders downstairs to the kitchen where she burrows through the refrigerator; or she tiptoes along the upstairs hall, listening for the breathing of her children. She’s anxious about them now, more than ever, and they are anxious about her. Despite her efforts to reassure them, to tell them that she is fine and everything will be all right, she frightens them. She can tell.

It must be the flatness of her voice, her face naked of makeup and disguise. She drags a blanket around the house with her in case sleep might choose to appear. Sometimes she falls asleep on the floor, in the family room, with the television on for company. Sometimes she drinks, hoping to relax herself, conk herself out. Sometimes it works.

Dolores quits. She says she’s found another job, one with a pension plan, but Roz doesn’t think it’s that. It’s the bad luck; Dolores is afraid of catching it. Roz will replace her, find someone else; but later, when she can think. After she’s had some sleep.

She goes to the doctor, the GP, the same one she uses for the children’s coughs, and asks for some sleeping pills. Just to get her through this period, she says. The doctor is understanding, the pills are granted. She’s careful with them at first, but then they don’t work so well and she takes more. One evening she takes a handful of them, and a triple scotch; not out of any’ desire to die, she doesn’t want to do that, but out of simple irritation at being awake. She ends up on the kitchen floor.

It’s Larry who finds her, coming back from a friend’s. He phones the ambulance. He’s old now, older than he should be. He’s responsible.

Roz comes to, and finds herself being walked around between two large nurses. Where is she? In a hospital. How weak, how embarrassing, she didn’t intend to end up in such a place. “I need to go home,” she says. “I need to get some rest.”

“She’s coming out of it,” says the one on the left. “You’ll be fine, dear,—says the other.

Roz has not been she or dear for a long time. There’s a flicker of humiliation. Then it subsides.

Roz floats up out of the fog. She can feel the bones of her skull, thin as a skin; inside them her brain is swollen and full of pulp. Her body is dark and vast as the sky, her nerves pinpricks of brightness: the stars, long strings of them, wavering like seaweed. She could drift, she could sink. Mitch would be there.

Then Charis is sitting beside her, beside her bed, holding her left hand. “Not yet,” says Charis. “You need to come back, it’s not your time. You still have things to do.”

When she’s herself, when she’s normal, Roz finds Charis an endearing nincompoop—let’s face it, a polymath she’s not—and mostly dismisses her gauzy metaphysics. Now, though, Charis reaches down with her other hand and takes hold of Roz’s foot, and Roz feels grief travelling through her like a wave, up through her body and along her arm and into her hand, and out into Charis’s hand, and out. Then she feels a tug, a pull, as if Charis is a long way away, on the shore, and has hold of something—something like a rope—and is hauling Roz in, out of the water, the water of the lake, where she has almost drowned. That’s life over there: a beach, the sun, some small figures. Her children, waving, shouting to her, though she can’t hear them. She concentrates on breathing, on forcing the air down into her lungs. She’s strong enough, she can make it.

“Yes,” says Charis. “You will:”

Tony has moved into Roz’s house, to be with the children. After Roz is let out of the hospital Charis moves in as well, just for a time; just until Roz is back on her feet.

“You don’t need to do this,” Roz protests.

“Somebody does,” says Tony briskly. “You have other suggestions?” She’s already phoned Roz’s office and told them that Roz has bronchitis; also laryngitis, so she can’t speak on the phone. Flowers arrive, and Charis puts them in vases and then forgets to add water. She goes to the health food store and brings back various capsules and extractions, which she feeds to Roz or else rubs onto her, and some breakfast cereals made from unknown seeds that need to be boiled a lot. Roz longs for chocolate, and Tony smuggles some in for her. “That’s a good sign,” she tells Roz.

Charis has brought August with her, and the three girls play Barbie doll games together in the twins’ playroom, violent games in which Barbie goes on the warpath and takes over the world and bosses everyone else around, and other games in which she comes to a nasty end. Or they dress up in Roz’s old slips and sneak around the house, three princesses on an expedition. Roz rejoices to hear the loud voices again, the arguments; the twins have been far too quiet lately.

Tony makes cups of tea, and, for dinner, olden-days tuna casseroles with cheese and potato-chip toppings, Roz thought such things had vanished from the world, and Charis massages Roz’s feet with mint essence and rose oil. She tells Roz that she’s an ardent soul, with connections to Peru. These things that have happened to her, which look like tragedy, are past lives working themselves out. Roz must learn from them, because that is why we return to earth: to learn. “You don’t stop being who you are, in your next life,” she says, “but you add things.” Roz bites her tongue, because she’s returning to herself again and she thinks this is diarrhea, but she would never dream of saying so because Charis means well, and Charis runs baths for her that have sticks of cinnamon and leaves floating in them, as if Roz is about to be turned into chicken stock.

“You’re spoiling me,” Roz tells them. Now that she’s feeling better she’s made uneasy by all the fussing. She is usually the one who does these things, the hen things, the taking care. She’s not used to being on the receiving end.

“You’ve been on a hard journey,” says Charis, in her gentlevoice. “You used up a lot of your energy. Now you can let go:”

“That’s not so easy,” says Roz.

“I know,” says Charis. “But you’ve never liked easy things.” By never, she means not for the past four thousand years. Which is about how old Roz feels.

Roz finds herself sitting on the cellar floor in the light from the one unshaded overhead bulb, an empty plate beside her, a children’s storybook open on her knees. She’s twisting and untwisting her wedding ring, the ring that once meant she was married, the ring that’s weighing her down, turning it on her finger as if she’s unscrewing it, or else expecting some genie or other to appear from nowhere and solve everything for her. Put the pieces back together, make everything right; slide Mitch alive back into her bed where she will find him when she goes upstairs—scrubbed and scented and brushed and cunning, filled to the brim with affectionate lies, lies she can see through, lies she can deal with, twenty years younger. Another chance. Now that she knows what to do she will do it better this time. Tell me, God—why don’t we get rehearsals?

How long has she been down here, whimpering in bad light? She must go upstairs and deal with reality, whatever that may be. She must pull herself together.

She does this by patting the pockets of her bathrobe, where she always used to keep a tissue before the twins outlawed them. Not finding any, she blots her eyes on her orange sleeve, leaving a black smear of mascara, then wipes her nose on the other sleeve. Well, who’s to see, except God? According to the nuns he had a preference for cotton hankies. God, she tells him, if you hadn’t wanted us to wipe our noses on our sleeves you wouldn’t have given us sleeves. Or noses. Or tears, as far as that goes. Or memory, or pain.

She slides the kids’ books back onto the shelf. She should donate these books to some charity, or maybe lend them—let them loose in the world to warp some small child’s mind, while she waits for her own grandchildren to appear. What grandchildren? Dream on, Roz. The twins are too young and will anyway probably grow up to be stock-car racers or women who go off to live among the gorillas, something fearless and non-progenitive; as for Larry, he’s in absolutely no hurry, and if the faux women he’s come up with so far are any sample of what the future holds in the daughter-in-law department, Roz would rather not hold her breath.

Life would be so much easier if there were still arranged marriages. She’d go out into the marriage market, cash in hand, bargain with a dependable marriage broker, secure a nice bride for Larry: bright but not bossy, sweet but not a pushover, and with a wide pelvic structure and a strong back. If her own marriage had been arranged, would things have’ turned out any worse than they did? Is it fair, to send inexperienced young girls out into the wild forest to fend for themselves? Girls with big bones and maybe not the smallest of feet. What would help would be a wise woman, some gnarly old crone who would step out from behind a tree, who would give advice, who would say No, not this one, who would say Beauty is only skin deep, in men as well as women, who would see down as far as the heart. Who knows what evil lurks in the hearts of men? An older woman knows. But how much older do you have to get before you acquire that kind of wisdom?

Roz keeps expecting it to sprout in her, grow all over her, sort of like age spots; but it hasn’t yet.

She hauls herself up off the floor and dusts her behind, a mistake because her hands are covered with book dirt, as she realizes too late when she looks at them, having encountered a squashed silverfish stuck to her velour-covered buttock, and Lord knows what’s been crawling over her while she’s been sitting here woolgathering. Woolgathering, her mother’s word, a word so old, rooted so far back in time, that although everyone knows what it means nobody knows where it came from. Why was gathering wool supposed to be lazy? Reading and thinking were both woolgathering, to her mother. Rosalind! Don’t just sit there woolgathering! Sweep the front walk!

Roz’s legs have gone to sleep. Every step she takes sends pins and needles shooting into them. She limps towards the cellar steps, pausing to wince. When she gets up to the kitchen she will open the refrigerator, just to see if there’s something in there she might like to eat. She hasn’t had a proper dinner, she often doesn’t. Nobody to cook for her, nobody to cook for, not that she ever cooked. Nobody to order in for. Food should be shared. Solitary eating can be like solitary drinking—a way of dulling the edge, of filling in the blanks. The blank; the empty man-shaped outline left by Mitch.

But there won’t be anything in the fridge that she wants; or’ rather, a few things maybe, but she will not stoop so low, she will not eat spoonfuls from the jar of chocolate-rum ice cream sauce, as she has done before, or blitz the can of pate de foie gras she’s been saving—up for God knows what mythical occasion, along with the bottle of champagne she keeps tucked away at the back. There’s a bunch of raw vegetables in there, roughage she bought in a fit of nutritional virtue, but right now they don’t appeal. She foresees their fate: they will turn slowly to green and orange goo in the crisper, and then she will buy more.

Maybe she could call up Charis or Tony, or both of them, invite them over; order up some red-hot chicken wings from the Indian tandoori take-out on Carlton, or some shrimp balls and garlic beans and fried won-ton from her favourite Szechuan place on Spadina, or both: have a sinful little multicultural feast. But Charis will already be back on the Island, and it’s dark by now, and she doesn’t like the thought of Charis out alone at night, there might be muggers, and Charis is such an obvious target, a long-haired middle-aged woman walking around covered with layers of printed textiles and bumping into things, she might as well have a sign pinned to her, Snatch my purse, and Roz can rarely persuade her to take taxis even if she offers to pay for them herself, because Charis goes on about the waste of gasoline. She will take a bus; or worse, she might decide to walk, through the wilds of Rosedale, past the rows of ersatz Georgian mansions, and get picked up by the police for vagrancy.

As for Tony, she’ll be at home in her turreted fortress, cooking up West’s dinner for him, some noodle casserole or other from The Joy of Cooking, the 1967 edition. It’s odd how Tony’s the only one of them who has actually ended up with a man. Roz can’t quite figure it out: tiny Tony, with her baby-bird eyes and her acidulated little smile, and, you’d think, the sex appeal of a fire hydrant, with more or less the same proportions. But love comes in odd boxes, as Roz has had occasion to learn. And maybe West was so badly frightened by Zenia in his youth that he’s never dared look at any other woman since.

Roz thinks wistfully of the dinnertime tableau at Tony’s house, then decides she is not exactly envious, because strawbodied, strange-minded, lantern jawed West isn’t her own idea of what she’d like to have sitting across the table from her. Instead she’s glad that Tony has a man, because Tony is her friend and you want your friends to be happy. According to the feminists, the ones in the overalls, in the early years, the only good man was a dead man, or better still none at all; yet Roz continues to wish her friends joy of them, these men who are supposed to be so bad for you. I met someone, a friend tells her, and Roz shrieks with genuine pleasure. Maybe that’s because a good man is hard to find, so it’s a real occasion when anyone actually finds one. But it’s difficult, it’s almost impossible, because nobody seems to know any more what “a good man” is. Not even men.

Or maybe it’s because so many of the good men have been eaten, by man-eaters like Zenia. Most women disapprove of man-eaters; not so much because of the activity itself, or the promiscuity involved, but because of the greed. Women don’t want all the men eaten up by man-eaters; they want a few left over so they can eat some themselves.

This is a cynical view, worthy of Tony but not of Roz. Roz must preserve some optimism, because she needs it; it’s a psychic vitamin, it keeps her going. “The Other Woman will soon be with us,” the feminists used to say. But how long will it take, thinks Roz, and why hasn’t it happened yet?

Meanwhile the Zenias of this world are abroad in the land, plying their trade, cleaning out male pockets, catering to male fantasies. Male fantasies, male fantasies, is everything run by male fantasies? Up on a pedestal or down on your knees, it’s all a male fantasy: that you’re strong enough to take what they dish out, or else too weak to do anything about it. Even pretending you aren’t catering to male fantasies is a male fantasy: pretending you’re unseen, pretending you have a life of your own, that you can wash your feet and comb your hair unconscious of the ever-present watcher peering through the keyhole, peering through the keyhole in your own head, if nowhere else. You are a woman with a man inside watching a woman. You are your own voyeur. The Zenias of this world have studied this situation and turned it to their own advantage; they haven’t let themselves be moulded into male fantasies, they’ve done it themselves. They’ve slipped sideways into dreams; the dreams of women too, because women are fantasies for other women, just as they are for men. But fantasies of a different kind.

Sometimes Roz gets herself down. It’s her own worthiness that does it, the pressure on her to be nice, to be ethical, to behave well; it’s the rays of good behaviour, of good nature, of cluck-clucking good-as-gold goody-goodness beaming out from around her head. It’s her best intentions. If she is so goldarned worthy, why isn’t she having more fun? Sometimes she would like to cast off her muffling Lady Bountiful cloak, stop tiptoeing through the scruples, cut loose, not in minor ways as she does now—a little swearing inside her head, some bad verbiage—but something really big. Some great whopping thoroughly despicable sin.

Random sex would have done the trick once, but plain garden-variety sex hardly counts any more, it’s just a form of mood therapy or calisthenics, she’d have to go in for bloodthirsty kink. Or something else, something devious and archaic and complicated and mean. Seduction followed by slow poisoning. Treachery Betrayal. Cheating and lies.

To do that she would need another body, it goes without saying, because the one she has is too clumsy, too lumberingly honest, and the sort of evil she has in mind would require grace. To be truly malevolent she would have to be thinner.

Mirror, mirror on the wall, Who is the evilest of us all?

Take off a few pounds, cookie, and maybe I can do something for you.

Or maybe she could go in for superhuman goodness, instead. Hair shirts, stigmata, succouring the poor, a kind of outsized

Mother Teresa. Saint Roz, it sounds good, though Saint Rosalind would be classier. A few thorns, one or two body parts on a plate, to show how she’d been martyred: an eye, a hand, a tit, tits were favourites, the ancient Romans seemed to have a thing about cutting off women’s breasts, sort of like plastic surgeons. She can see herself in a halo, with her hand languidly on her heart and a wimple, great for sagging chins, and her eyes rolled up in ecstasy. It’s the extremes that attract her. Extreme good, extreme evil: the abilities required are similar.

Either way, she would like to be someone else. But not just anyone. Sometimes—for a day at least, or even for an hour, or if nothing else was available then five minutes would do—sometimes she would like to be Zenia.

She hobbles up the cellar stairs on prickling feet, one step at a time, holding onto the banister and wondering if this is what it will be like to be ninety, should she get that far. She makes it to the top finally, opens the door. Here is the white kitchen, just as she left it. She feels as if she’s been away from it for a long time. Wandering lost in the dark wood with its twisted trees; enchanted.

The twins are sitting on high stools at the counter, wearing shorts with tights underneath, a fashionable hole in each knee, drinking strawberry smoothies out of tall glasses. Pink moustaches adorn their upper lips. The frozen yogourt container melts near the sink.

“Gollee, Mom, you look like a car accident!” says Paula.”What’s that smeary stuff all over your face?”

“It’s just my face,” says Roz. “It’s coming off”

Erin jumps down and runs over to her. “Sit down, sweetie,” she says, in a parody of Roz herself in her mothering mode. “Do you have a temperature? Let us feel your forehead!”

The two of them propel her across the floor, up onto a stool. They wet the dishtowel and wipe her face—“Ooh, messy messy!” It’s obvious to them she’s been crying, but of course they don’t mention it. Then they try to get her to drink one of their smoothies, laughing and giggling because it’s funny to them, their mother as a big baby, themselves as mothers. Wait for it, Roz thinks. Wait till I lose my marbles and start to drool, and you find yourselves doing this for real. It won’t be so funny then:

But what a burden it must be to them, her bereft condition. Why shouldn’t they put on clown faces to cover up their distress? It’s a trick they’ve learned from her. It’s a trick that works.